1900s in Western fashion

Fashionable Londoners in front of Harrods, 1909. The trailing skirts and broad-brimmed hats of mid-decade are giving way to narrower dresses and hats with deep crowns. Men wear top hats with formal morning dress or bowlers with lounge suits.

Fashion in the period 1900–1909 in the Western world continued the long elegant lines of the 1890s. Tall, stiff collars characterize the period, as do women's broad hats and full "Gibson Girl" hairstyles. A new, columnar silhouette introduced by the couturiers of Paris late in the decade signaled the approaching abandonment of the corset as an indispensable garment.

John Singer Sargent's portrait of Miss Eden shows a fashionable full breast, low neckline, and mass of hair, 1905.

With the decline of the bustle, sleeves began to increase in size and the 1830s silhouette of an hourglass shape became popular again, the fashionable silhouette in the early 20th century was that of a confident woman, with full low chest and curvy hips. The "health corset" of this period removed pressure from the abdomen and created an S-curve silhouette.[1]

In 1897, the silhouette slimmed and elongated by a considerable amount. Blouses and dresses were full in front and puffed into a "pigeon breast" shape of the early 20th century that looked over the narrow waist, which sloped from back to front and was often accented with a sash or belt. Necklines were supported by very high boned collars.[2]

Skirts brushed the floor, often with a train, even for day dresses, in mid-decade, the fashion houses of Paris began to show a new silhouette, with a thicker waist, flatter bust, and narrower hips. By the end of the decade the most fashionable skirts cleared the floor and approached the ankle, the overall silhouette narrowed and straightened, beginning a trend that would continue into the years leading up to the Great War.

In early 1910 survey of wealthy high school senior students at a private New York City girls' school found that each spent an average of $556 ($14,603 as of 2017[3]) annually for clothing excluding undergarments, and would have spent four times that amount with an unlimited budget.[4]

Women moving out of the Victorian era and into the Edwardian era were starting to dress for a more active lifestyle, the evolving times brought a new fashion trend known as the “New Woman”. Active lives required less constricting clothing and required simpler and more streamlined clothing, the new woman was highly encouraged by women’s suffrage. Women that identified with this fashion movement were the type of women that were beginning to venture out of the domestic circle that they were told to maintain and beginning to pursue higher education, office jobs, and participating in active outdoor sports, the new and improved fashions allowed for women to swing a tennis racket, whack a golf ball, but the ideas of “proper” feminine attire reduced the progress of more practical sportswear.

Tailored suits became more popular for the women that were beginning to work in white collar jobs. Tailored suits with no frills allowed for women maintaining an office job to seem more masculine and blend into the male dominated environment. Shortly the number of women attending colleges increased, and the shirtwaist became popular among the average college girl, the outfit worn by the typical college girl was a skirt that was usually shorter than current fashion, and a shirtwaist, which is best described as the equivalent of jeans and a T-shirt today.[5][6]

Evelyn Nesbit, in this photograph taken in 1901, has some of her wavy hair swept up to the top of her head, with the rest of her hair flowing past her shoulders in curling tendrils.

Unfussy, tailored clothes were worn for outdoor activities and traveling, the shirtwaist, a costume with a bodice or waist tailored like a man's shirt with a high collar, was adopted for informal daywear and became the uniform of working women. Wool or tweed suit (clothing) called tailor-mades or (in French) tailleurs featured ankle-length skirts with matching jackets; ladies of fashion wore them with fox furs and huge hats. Two new styles of headgear which became popular at the turn of the century were the motoring veil for driving an sailor hats worn for tennis matches, bicycling and croquet.[7]

This decade marked the full flowering of Parisian haute couture as the arbiter of styles and silhouettes for women of all classes. Designers sent fashion models or mannequins to the Longchamp races wearing the latest styles,[8] and fashion photographs identified the creators of individual gowns.[9] In 1908, a new silhouette emerged from Callot Soeurs, Vionnet at the house of Doucet, and most importantly, Paul Poiret.[10] The styles were variously called Merveilleuse, Directoire, and Empire after the fashions of the turn of the nineteenth century, which they resembled in their narrow skirts and raised waistlines.

The new styles featured form-fitting gowns with high or indefined waists, or ankle-length skirts and long tunic-like jackets, and required a different "straight line" corset, the Paris correspondent for Vogue described this new look as "straighter and straighter ... less bust, less hips, and more waist...how slim, how graceful, how elegant...!"[11]

Cartoon in Punch (1911) compares changes in fashion between 1901 and 1911. "The dowdy voluminous clothes of the earlier date, making the grandmother an old lady and the mother seem plain, had been replaced by much simpler looser wear producing a sense of release for all three females."[12]

Huge, broad-brimmed hats were worn in mid-decade, trimmed with masses of feathers and occasionally complete stuffed birds (hummingbirds for those who could afford them), or decorated with ribbons and artificial flowers. Masses of wavy hair were fashionable, swept up to the top of the head (if necessary, over horsehair pads called "rats") and gathered into a knot.[13] Large hats were worn with evening wear.

By the end of the decade, hats had smaller drooping brims that shaded the face and deep crowns, and the overall top-heavy effect remained.

Shoes were narrow and often emphasized, they had a pointed toe and a medium height heel. Buttons, patent leather, and laced models of the shoe were also manufactured and readily available. Similarly, there were shoes for every occasion; oxfords for a tailored costume, slippers with straps for festive occasions or pumps with pearl buckles, and finally, boots which were often edged in fur to stave off the winter chill when riding in a carriage in the winter.[14] At the beginning of 1900s shoes still maintained the same design of the Victorian era. Shoes were commonly made with seal skin or Moroccan leather. Having boots made of seal skin was most common for people in a higher social class. Seal skin boots were known to be extremely durable and could be worn during every season. Boots made from Moroccan leather were more uncomfortable and stiff. World War I caused this opulent era to tone down due to the increased sanctions on the trade of leather and other fabrics, and shoes were starting to incorporate a fabric topping.[6]

Dresses by Paul Poiret point the way to a new silhouette, with a high waist and narrow, ankle-length skirts, 1908.

Newspaper insert of fashions for 1908 shows dresses of a more conservative cut than the latest Paris modes, but waists are higher and the figure slimmer and more erect than in the first half of the decade.

The sack coat or lounge coat continued to replace the frock coat for most informal and semi-formal occasions. Three-piece suits consisting of a sack coat with matching waistcoat (U.S. vest) and trousers were worn, as were matching coat and waistcoat with contrasting trousers, or matching coat and trousers with contrasting waistcoat. Trousers were shorter than before, often had turn-ups or cuffs, and were creased front and back using the new trouser press.[15]

Waistcoats fastened high on the chest, the usual style was single-breasted.

The blazer, a navy blue or brightly colored or striped flannel coat cut like a sack coat with patch pockets and brass buttons, was worn for sports, sailing, and other casual activities.

The Norfolk jacket remained fashionable for shooting and rugged outdoor pursuits, it was made of sturdy tweed or similar fabric and featured paired box pleats over the chest and back, with a fabric belt. Worn with matching breeches or (U.S. knickerbockers), it became the Norfolk suit, suitable for bicycling or golf with knee-length stockings and low shoes, or for hunting with sturdy boots or shoes with leather gaiters.

The cutaway morning coat was still worn for formal day occasions in Europe and major cities elsewhere, with striped trousers.

The most formal evening dress remained a dark tail coat and trousers with a dark or light waistcoat. Evening wear was worn with a white bow tie and a shirt with a winged collar, the less formal dinner jacket or tuxedo, which featured a shawl collar with silk or satin facings, now generally had a single button. Dinner jackets were appropriate formal wear when "dressing for dinner" at home or at a men's club, the dinner jacket was worn with a white shirt and a dark tie.

Formal dress shirt collars were turned over or pressed into "wings". Collars were overall very tall and stiffened. Dress shirts had stiff fronts, sometimes decorated with shirt studs and buttoned up the back. Striped shirts were popular for informal occasions.

The usual necktie was a narrow four-in-hand. Ascot ties were worn with formal day dress and white bow ties with evening dress.

Top hats remained a requirement for upper class formal wear; soft felt Homburgs or stiff bowler hats were worn with lounge or sack suits, and flat straw boaters were worn for casual occasions.

Shoes for men were mostly over the ankle. Toe cap, lace up boots in black, gray, or brown were the most common for everyday wear. Formal occasions called for formal boots with white uppers (spat style) and buttons on the side; in the Edwardian times basic lace up oxford shoes were introduced.

Girls' fashion for this time period imitated older women of the same period. Girls wore dresses of knee length, with trimmings at the hem such as lace and embroidery similar to women's lingerie dresses. Normally, black shoes or button up / lace up boots and woolen stockings went with the dress as well as kidskin or crochet gloves, their hair was generally worn long and curly with decorations of ribbon. For play, bloomers and woolen jerseys were acceptable.[16]

A new attempt was made to design garments that are more suitable for playing by designing girls' dresses with short sleeves.[17] Outside, button up boots would have been worn or lace up boots also shoes with spats would have been worn in the winter spats worn over shoes created the look of wearing a long boot. Kid leather gloves would have been worn to cover the hands or lace gloves in the summer. Bonnets were being replaced by hats by the end of the Victorian era so girls would have worn a hat when out.

Fashionable clothing for boys included sailor suits, consisting of a shirt with a sailor collar and trousers or knickerbockers, for automobiling, boys wore a duster with knickerbockers, a flat cap, and goggles.[18]

^ abTierney, T. (2017). Appropriation, articulation and authentication in acid house: The evolution of women's fashion throughout the early years of the acid house culture. Fashion, Style, & Popular Culture, 4(2), 179. doi:10.1386/fspc.4.2.179_1

1.
London
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London /ˈlʌndən/ is the capital and most populous city of England and the United Kingdom. Standing on the River Thames in the south east of the island of Great Britain and it was founded by the Romans, who named it Londinium. Londons ancient core, the City of London, largely retains its 1. 12-square-mile medieval boundaries. London is a global city in the arts, commerce, education, entertainment, fashion, finance, healthcare, media, professional services, research and development, tourism. It is crowned as the worlds largest financial centre and has the fifth- or sixth-largest metropolitan area GDP in the world, London is a world cultural capital. It is the worlds most-visited city as measured by international arrivals and has the worlds largest city airport system measured by passenger traffic, London is the worlds leading investment destination, hosting more international retailers and ultra high-net-worth individuals than any other city. Londons universities form the largest concentration of education institutes in Europe. In 2012, London became the first city to have hosted the modern Summer Olympic Games three times, London has a diverse range of people and cultures, and more than 300 languages are spoken in the region. Its estimated mid-2015 municipal population was 8,673,713, the largest of any city in the European Union, Londons urban area is the second most populous in the EU, after Paris, with 9,787,426 inhabitants at the 2011 census. The citys metropolitan area is the most populous in the EU with 13,879,757 inhabitants, the city-region therefore has a similar land area and population to that of the New York metropolitan area. London was the worlds most populous city from around 1831 to 1925, Other famous landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Pauls Cathedral, Tower Bridge, Trafalgar Square, and The Shard. The London Underground is the oldest underground railway network in the world, the etymology of London is uncertain. It is an ancient name, found in sources from the 2nd century and it is recorded c.121 as Londinium, which points to Romano-British origin, and hand-written Roman tablets recovered in the city originating from AD 65/70-80 include the word Londinio. The earliest attempted explanation, now disregarded, is attributed to Geoffrey of Monmouth in Historia Regum Britanniae and this had it that the name originated from a supposed King Lud, who had allegedly taken over the city and named it Kaerlud. From 1898, it was accepted that the name was of Celtic origin and meant place belonging to a man called *Londinos. The ultimate difficulty lies in reconciling the Latin form Londinium with the modern Welsh Llundain, which should demand a form *lōndinion, from earlier *loundiniom. The possibility cannot be ruled out that the Welsh name was borrowed back in from English at a later date, and thus cannot be used as a basis from which to reconstruct the original name. Until 1889, the name London officially applied only to the City of London, two recent discoveries indicate probable very early settlements near the Thames in the London area

2.
Harrods
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Harrods is a luxury department store located on Brompton Road in Knightsbridge, London. It is owned by the state of Qatar, the store occupies a 5-acre site and has 330 departments covering one million square feet of retail space. The Harrods motto is Omnia Omnibus Ubique, which is Latin for all things for all people, several of its departments, including the seasonal Christmas department and the food halls, are well known. In 1824, at the age of 25, Charles Henry Harrod established a business at 228 Borough High Street in Southwark and he ran this business, variously listed as a draper, mercer, and a haberdasher, until 1831 at least. During 1825, the business was listed as Harrod and Wicking, Linen Drapers, Retail and his first grocery business appears to be as ‘Harrod & Co. Grocers’ at 163 Upper Whitecross Street, Clerkenwell, E. C.1. in 1832. In 1834 in Londons East End, he established a grocery in Stepney, at 4, Cable Street. Harrods rapidly expanded, acquired the buildings, and employed one hundred people by 1880. However, the stores booming fortunes were reversed in early December 1883, remarkably, in view of this calamity, Charles Harrod fulfilled all of his commitments to his customers to make Christmas deliveries that year—and made a record profit in the process. A. Milne, and many members of the British Royal Family, a chance meeting in London with businessman, Edgar Cohen, eventually led to Charles Harrod selling his interest in the store for £120,000 via a stock market floatation in 1889. The new company was called Harrod’s Stores Limited, sir Alfred James Newton became chairman and Richard Burbidge managing director. Financier William Mendel was appointed to the board in 1891 and he raised funding for many of the expansion plans. Richard Burbidge was succeed in 1917 by his son Woodman Burbidge, nervous customers were offered brandy at the top to revive them after their ordeal. The department store was purchased by the Fayed brothers in 1985, following denial that it was for sale, Harrods was sold to Qatar Holdings, the sovereign wealth fund of the State of Qatar in May 2010. A fortnight previously, chairman of Harrods since 1985, Mohamed Al-Fayed, had stated that People approach us from Kuwait, Saudi Arabia, but I put two fingers up to them. This is not Marks and Spencer or Sainsburys and it is a special place that gives people pleasure. A spokesman for Mohamed Al-Fayed said in reaching the decision to retire, wished to ensure that the legacy, Harrods was sold for £1.5 billion, half of the sale will be used to pay bank debts of £625 million. Al-Fayed later revealed in an interview that he decided to sell Harrods following the difficulty in getting his dividend approved by the trustee of the Harrods pension fund. Al-Fayed said Im here every day, I cant take my profit because I have to take a permission of those bloody idiots. I say is this right, I run a business and I need to take the trustees permission to take my profit

3.
Morning dress
–
Morning dress is the daytime formal dress code, consisting chiefly of, for men, a morning coat, waistcoat, and striped trousers, and an appropriate dress for women. The semi-formal counterpart of this code is the stroller and it will also be seen sometimes worn at services in St Pauls Cathedral, London and St Giles Cathedral, Edinburgh. The name originated from the practice of gentlemen in the nineteenth century riding a horse in the morning with a cutaway front, in the Edwardian era it took over in popularity from the frock coat as the standard daytime form of mens full dress. The waistcoat may also match, or not, Morning suits will sometimes be a middle-tone gray. Morning suits, especially the ones, are considered slightly less formal than morning coat ensembles. The following can optionally be worn or carried with morning dress, alternatively, a top hat made of fur felt or wool felt, is another common option. The formal trousers worn with it are either cashmere striped, or black, the most traditional colours for a waistcoat are grey, buff, or black. At social or festive occasions, e. g, other colours sold by traditional English tailors include powder blue and a pale pink. Generally, traditional waistcoats are made from wool or linen, waistcoats may be either single-breasted with, or without, lapels or double-breasted with lapels. Single-breasted models with lapels usually feature a step collar, whilst double-breasted models commonly have either a shawl collar or a peak lapel, formal trousers should not have turn-ups, and should have one or two forward pleats to each leg. Braces should be worn to prevent the waistband from appearing beneath the waistcoat, belts should not be worn with morning dress. Less common alternatives to striped trousers are houndstooth check, and grey flannel trousers, a white stiff collar is traditional, with the plain turn-down cutaway variety standard since the World War II, in this case a normal long tie is worn. Because of this Debretts, for example, considers the Ascot, if the shirt has turn-down collars it usually has sleeves with double cuffs fastened with cufflinks as standard. Contemporary shirts often do not have a collar at all. The most formal colour for a shirt is white, but if a coloured or striped shirt is worn, traditional formal colourings are Wedgwood blue, solid or in thin vertical stripes. Previously, a grey or a black neck-tie was obligatory, now all colours are worn, in many clubs and societies the Club Tie is acceptable to distinguish members from guests at formal lunches and breakfasts. The original silver Macclesfield design is used particularly with cravats. The English etiquette authority, Debretts, dictate that ties are preferred to cravats, bow ties may be worn as an alternative to the necktie

4.
1890s in Western fashion
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Fashion in the 1890s in European and European-influenced countries is characterized by long elegant lines, tall collars, and the rise of sportswear. Fashionable womens clothing styles shed some of the extravagances of previous decades, early 1890s dresses consisted of a tight bodice with the skirt gathered at the waist and falling more naturally over the hips and undergarments than in previous years. The mid-1890s introduced leg omutton sleeves, which grew in size each year until they disappeared in about 1906, during the same period of the mid-1890s, skirts took on an A-line silhouette that was almost bell-like. The late 1890s returned to the tighter sleeves often with small puffs or ruffles capping the shoulder, skirts took on a trumpet shape, fitting more closely over the hip and flaring just above the knee. Corsets in the 1890s helped define the figure as immortalized by artist Charles Dana Gibson. In the very late 1890s, the elongated, giving the women a slight S-bend silhouette that would be popular well into the Edwardian era. Changing attitudes about acceptable activities for women also made popular for women, with such notable examples as the bicycling dress. Unfussy, tailored clothes, adapted from the theme of mens tailoring and simplicity of form, were worn for outdoor activities. The shirtwaist, a costume with a bodice or waist tailored like a shirt with a high collar, was adopted for informal daywear. Walking suits featured ankle-length skirts with matching jackets, the notion of rational dress for womens health was a widely discussed topic in 1891, which led to the development of sports dress. This included ample skirts with a blouse for hockey. In addition, cycling became very popular and led to the development of cycling costumes, by the 1890s, women bicyclists increasingly wore bloomers in public and in the company of men as well as other women. Bloomers seem to have more commonly worn in Paris than in England or the United States and became quite popular. In the United States, bloomers were more intended for exercise than fashion, the rise of American womens college sports in the 1890s created a need for more unencumbered movement than exercise skirts would allow. By the end of the decade, most colleges that admitted women had womens basketball teams, across the nations campuses, baggy bloomers were paired with blouses to create the first womens gym uniforms. They were particularly useful for cycling, walking or sporting pursuits as the shorter hems were less likely to catch in the mechanisms or underfoot. Swimwear was also developed, usually made of blue wool with a long tunic over full knickers. Afternoon dresses typical of the period had high necks, wasp waists, puffed sleeves

5.
Gibson Girl
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The artist saw his creation as representing the composite of thousands of American girls. The Gibson Girl image that appeared in the 1890s combined elements of older American images of female beauty, such as the fragile lady. From the fragile lady she took the basic lines. From the voluptuous woman she took a large bust and hips, from this combination emerged the Gibson Girl, who was tall and slender, yet with ample bosom, hips and buttocks. She had an exaggerated S-curve torso shape achieved by wearing a swan-bill corset, images of her epitomized the late 19th- and early 20th-century Western preoccupation with youthful features and ephemeral beauty. Her neck was thin and her hair piled high upon her head in the contemporary bouffant, pompadour, the statuesque, narrow-waisted ideal feminine figure was portrayed as being at ease and stylish. She was a member of class society, always perfectly dressed in the latest fashionable attire appropriate for the place. In addition to the Gibson Girls refined beauty, in spirit, she was calm, independent, confident and she could be depicted attending college and vying for a good mate, but she would never have participated in the suffrage movement. Taking part in the movement was something more associated with the New Woman. The Gibson Girl was a popular version of the New Woman. She therefore managed to stay within the boundaries of feminine roles without too much transgression, Gibson depicted her as an equal and sometimes teasing companion to men. She was also dominant, for example, literally examining comical little men under a magnifying glass, or, in a breezy manner. Next to the beauty of a Gibson Girl, men appeared as simpletons or bumblers. Gibson illustrated men so captivated by her looks that they would follow her anywhere, attempting to fulfill any desire, even if it was absurd. One memorable drawing shows dumbstruck men following a Gibson Girls command to plant a young, leafless tree upside-down, roots in the air, most often, a Gibson Girl appeared single and uncommitted. However, a romance always relieved her boredom, once married, she was shown deeply frustrated if romantic love had disappeared from her life, but satisfied if socializing with girlfriends or happy when doting on her infant child. The artist believed that the Gibson Girl represented the beauty of American women, I saw her on the streets, I saw her at the theatres, I saw her in the churches. I saw her everywhere and doing everything, I saw her idling on Fifth Avenue and at work behind the counters of the stores

6.
Fashion design
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Fashion design is the art of application of design and aesthetics or natural beauty to clothing and accessories. Fashion design is influenced by cultural and social attitudes, and has varied over time, Fashion designers work in a number of ways in designing clothing and accessories such as bracelets and necklace. Because of the required to bring a garment onto the market. Fashion designers attempt to design clothes which are functional as well as aesthetically pleasing and they consider who is likely to wear a garment and the situations in which it will be worn. They have a range and combinations of materials to work with. Though most clothing worn for everyday wear falls within a range of conventional styles. Some clothes are made specifically for an individual, as in the case of haute couture or bespoke tailoring, today, most clothing is designed for the mass market, especially casual and every-day wear are called ready to wear. Fashion designers may work full-time for one house, as in-house designers. They may work alone or as part of a team, freelance designers work for themselves, selling their designs to fashion houses, directly to shops, or to clothing manufacturers. The garments bear the buyers label, some fashion designers set up their own labels, under which their designs are marketed. Some fashion designers are self-employed and design for individual clients, other high-end fashion designers cater to specialty stores or high-end fashion department stores. These designers create original garments, as well as those that follow established fashion trends, most fashion designers, however, work for apparel manufacturers, creating designs of mens, womens, and childrens fashions for the mass market. Fashion designers work in different ways, some sketch their ideas on paper, while others drape fabric on a dress form. Finally, a garment is made up and tested on a model to make sure it is an operational outfit. Fashion design is considered to have started in the 19th century with Charles Frederick Worth who was the first designer to have his label sewn into the garments that he created. Before the former draper set up his maison couture in Paris, clothing design and creation was handled by largely anonymous seamstresses, worths success was such that he was able to dictate to his customers what they should wear, instead of following their lead as earlier dressmakers had done. The term couturier was in fact first created in order to describe him, while all articles of clothing from any time period are studied by academics as costume design, only clothing created after 1858 is considered as fashion design. It was during this period that many design houses began to hire artists to sketch or paint designs for garments, the images were shown to clients, which was much cheaper than producing an actual sample garment in the workroom

7.
Paris
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Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town

8.
Corset
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A corset is a garment worn to hold and train the torso into a desired shape for aesthetic or medical purposes. Both men and women are known to wear corsets, though this item was for years an integral part of womens wardrobes. Since the late 20th century, the industry has borrowed the term corset to refer to tops which, to varying degrees. While these modern corsets and corset tops often feature lacing or boning and generally imitate a historical style of corsets, they have little, if any. Genuine corsets are made by a corsetmaker and are frequently fitted to the individual wearer. The word corset is derived from the Old French word corps and the diminutive of body, the craft of corset construction is known as corsetry, as is the general wearing of them. Someone who makes corsets is a corsetier or corsetière, or sometimes simply a corsetmaker, in 1828, the word corset came into general use in the English language. The word was used in The Ladies Magazine to describe a quilted waistcoat that the French called un corset and it was used to differentiate the lighter corset from the heavier stays of the period. The most common and well-known use of corsets is to slim the body, for women, this most frequently emphasizes a curvy figure by reducing the waist and thereby exaggerating the bust and hips. However, in some periods, corsets have been worn to achieve a tubular straight-up-and-down shape, for men, corsets are more customarily used to slim the figure. An overbust corset encloses the torso, extending from just under the arms toward the hips, an underbust corset begins just under the breasts and extends down toward the hips. A longline corset – either overbust or underbust – extends past the iliac crest, a longline corset is ideal for those who want increased stability, have longer torsos, or want to smooth out their hips. A standard length corset will stop short of the iliac crest and is ideal for those who want increased flexibility or have a shorter torso, some corsets, in very rare instances, reach the knees. A shorter kind of corset that covers the waist area, is called a waist cincher, a corset may also include garters to hold up stockings, alternatively, a separate garter belt may be worn for that. Traditionally, a corset supports the visible dress and spreads the pressure from large dresses, such as the crinoline, at times, a corset cover is used to protect outer clothes from the corset and to smooth the lines of the corset. The original corset cover was worn under the corset to provide a layer between it and the body. Corsets were not worn next to the skin, possibly due to difficulties with laundering these items during the 19th century, as they had steel boning, the corset cover was generally in the form of a light chemise, made from cotton lawn or silk. Modern corset wearers may wear corset liners for many of the same reasons and those who lace their corsets tightly use the liners to prevent burn on their skin from the laces

9.
John Singer Sargent
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John Singer Sargent was an American artist, considered the leading portrait painter of his generation for his evocations of Edwardian era luxury. During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and his oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida. His parents were American, but he was trained in Paris prior to moving to London and his commissioned works were consistent with the grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In later life Sargent expressed ambivalence about the restrictions of formal portrait work and he lived most of his life in Europe. Art historians generally ignored the society such as Sargent until the late 20th century. Before Sargents birth, his father, FitzWilliam, was an eye surgeon at the Wills Eye Hospital in Philadelphia 1844–1854, after Johns older sister died at the age of two, his mother, Mary, suffered a breakdown, and the couple decided to go abroad to recover. They remained nomadic expatriates for the rest of their lives, although based in Paris, Sargents parents moved regularly with the seasons to the sea and the mountain resorts in France, Germany, Italy, and Switzerland. While Mary was pregnant, they stopped in Florence, Tuscany, Sargent was born there in 1856. A year later, his sister Mary was born, after her birth, FitzWilliam reluctantly resigned his post in Philadelphia and accepted his wifes entreaties to remain abroad. They lived modestly on an inheritance and savings, living a quiet life with their children. They generally avoided society and other Americans except for friends in the art world, four more children were born abroad, of whom only two lived past childhood. Although his father was a patient teacher of basic subjects, young Sargent was a rambunctious child, as his father wrote home, He is quite a close observer of animated nature. His mother was convinced that traveling around Europe, and visiting museums and churches. Several attempts to have him formally schooled failed, owing mostly to their itinerant life, Sargents mother was a fine amateur artist and his father was a skilled medical illustrator. Early on, she gave him sketchbooks and encouraged drawing excursions, young Sargent worked with care on his drawings, and he enthusiastically copied images from The Illustrated London News of ships and made detailed sketches of landscapes. FitzWilliam had hoped that his sons interest in ships and the sea might lead him toward a naval career, at thirteen, his mother reported that John sketches quite nicely, & has a remarkably quick and correct eye. If we could afford to give him really good lessons, he would soon be quite a little artist, at the age of thirteen, he received some watercolor lessons from Carl Welsch, a German landscape painter. Although his education was far from complete, Sargent grew up to be a literate and cosmopolitan young man, accomplished in art, music

10.
Bustle
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A bustle is a type of framework used to expand the fullness or support the drapery of the back of a womans dress, occurring predominantly in the mid-to-late 19th century. Bustles were worn under the skirt in the back, just below the waist, heavy fabric tended to pull the back of a skirt down and flatten it. Thus, a womans petticoated or crinolined skirt would lose its shape during everyday wear, the word bustle has become synonymous with the fashion to which the bustle was integral. As the fashion for crinolines wore on, their shape changed, instead of the large bell-like silhouette previously in vogue, they began to flatten out at the front and sides, creating more fullness at the back of the skirts. One type of crinoline, the crinolette, created a very similar to the one produced by a bustle. Fullness of some sort was considered necessary to make the waist look smaller. The bustle was worn in different shapes for most of the 1870s and 1880s, in the early stages of the fashion for the bustle, the fullness to the back of the skirts was carried quite low and often fanned out to create a train. The transition from the voluminous crinoline enhanced skirts of the 1850s and 1860s can be seen in the loops and gathers of fabric, the fashion for large bustles ended in 1889. The bustle had completely disappeared by 1905, as the corset of the early 20th century was now successful in shaping the body to protrude behind. The bustle was a typically Victorian fashion, a notable comparison is with the exaggerated images of the South African woman known as Hottentot Venus exhibited throughout Europe in the first part of the 19th century. Bustles and bustle gowns are worn in contemporary society. Notable exceptions occur in the realm of couture, bridal fashion. A dress in the style may be worn as a costume. For example, in 1993 Eiko Ishioka won an Academy Award for her designs from Bram Stokers Dracula. The film features several extravagant bustle gowns created for female leads Winona Ryder and its positioning on the vehicle resembling the similar placement of the bustle as used on the dress item. 1870s in fashion 1880s in fashion Corset Crinoline Victorian fashion Media related to Bustle at Wikimedia Commons

11.
Train (clothing)
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In clothing, a train describes the long back portion of a skirt, overskirt, or dress that trails behind the wearer. It is a part of a womans court dress, formal evening gowns or wedding dress. In the Roman Catholic Church the cappa magna, a form of mantle, is an ecclesiastical vestment with a long train. Cardinals, bishops, and certain other honorary prelates are entitled to wear the cappa magna, court train - Worn for formal court occasions, the court train had to fall in with strict dress codes which differed from court to court. For example, the French court code set in 1804 by Jean-Baptiste Isabey prescribed a maximum width for embroidered train borders for non-Royal wearers. Double train - Two trains attached to the dress, or a single train divided into two trails. Fishtail train - A train popular at times from the 1870s onwards. Trains in modern bridal wear have their own terminology, Cathedral train - also known as a monarch train, a royal cathedral train is considered the longest, most formal train, measuring up to ten feet or more. Chapel train - a medium length train up to five feet long, court train - in bridal terminology, a court train is a narrow train extending 1 metre behind. Sweep train - a short train that does not necessarily reach the floor and it is so called because it might just sweep the ground. Watteau train - a modern version of the pleated backs seen in 18th century sack-back gowns, black, J. Anderson and Madge Garland, A History of Fashion, Morrow,1975. ISBN 0-688-02893-4 Payne, Blanche, History of Costume from the Ancient Egyptians to the Twentieth Century, no ISBN for this edition, ASIN B0006BMNFS

12.
World War I
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World War I, also known as the First World War, the Great War, or the War to End All Wars, was a global war originating in Europe that lasted from 28 July 1914 to 11 November 1918. More than 70 million military personnel, including 60 million Europeans, were mobilised in one of the largest wars in history and it was one of the deadliest conflicts in history, and paved the way for major political changes, including revolutions in many of the nations involved. The war drew in all the worlds great powers, assembled in two opposing alliances, the Allies versus the Central Powers of Germany and Austria-Hungary. These alliances were reorganised and expanded as more nations entered the war, Italy, Japan, the trigger for the war was the assassination of Archduke Franz Ferdinand of Austria, heir to the throne of Austria-Hungary, by Yugoslav nationalist Gavrilo Princip in Sarajevo on 28 June 1914. This set off a crisis when Austria-Hungary delivered an ultimatum to the Kingdom of Serbia. Within weeks, the powers were at war and the conflict soon spread around the world. On 25 July Russia began mobilisation and on 28 July, the Austro-Hungarians declared war on Serbia, Germany presented an ultimatum to Russia to demobilise, and when this was refused, declared war on Russia on 1 August. Germany then invaded neutral Belgium and Luxembourg before moving towards France, after the German march on Paris was halted, what became known as the Western Front settled into a battle of attrition, with a trench line that changed little until 1917. On the Eastern Front, the Russian army was successful against the Austro-Hungarians, in November 1914, the Ottoman Empire joined the Central Powers, opening fronts in the Caucasus, Mesopotamia and the Sinai. In 1915, Italy joined the Allies and Bulgaria joined the Central Powers, Romania joined the Allies in 1916, after a stunning German offensive along the Western Front in the spring of 1918, the Allies rallied and drove back the Germans in a series of successful offensives. By the end of the war or soon after, the German Empire, Russian Empire, Austro-Hungarian Empire, national borders were redrawn, with several independent nations restored or created, and Germanys colonies were parceled out among the victors. During the Paris Peace Conference of 1919, the Big Four imposed their terms in a series of treaties, the League of Nations was formed with the aim of preventing any repetition of such a conflict. This effort failed, and economic depression, renewed nationalism, weakened successor states, and feelings of humiliation eventually contributed to World War II. From the time of its start until the approach of World War II, at the time, it was also sometimes called the war to end war or the war to end all wars due to its then-unparalleled scale and devastation. In Canada, Macleans magazine in October 1914 wrote, Some wars name themselves, during the interwar period, the war was most often called the World War and the Great War in English-speaking countries. Will become the first world war in the sense of the word. These began in 1815, with the Holy Alliance between Prussia, Russia, and Austria, when Germany was united in 1871, Prussia became part of the new German nation. Soon after, in October 1873, German Chancellor Otto von Bismarck negotiated the League of the Three Emperors between the monarchs of Austria-Hungary, Russia and Germany

13.
Paul Poiret
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Paul Poiret was a leading French fashion designer, a master couturier during the first two decades of the 20th century. His contributions to his field have been likened to Picassos legacy in 20th-century art, Poiret was born on 20 April 1879 to a cloth merchant in the poor neighborhood of Les Halles, Paris. His parents, in an effort to rid him of his natural pride, there, he collected scraps of silk left over from the cutting of umbrella patterns, and fashioned clothes for a doll that one of his sisters had given him. While a teenager, Poiret took his sketches to Louise Chéruit, a prominent dressmaker, Poiret continued to sell his drawings to major Parisian couture houses, until he was hired by Jacques Doucet in 1896. His first design, a red cape, sold 400 copies. Poiret later moved to the House of Worth, where he was responsible for designing simple, the brazen modernity of his designs, however, proved too much for Worths conservative clientele. When Poiret presented the Russian Princess Bariatinsky with a Confucius coat with an innovative kimono-like cut, for instance, she exclaimed, What a horror. When there are low fellows who run after our sledges and annoy us, we have their heads cut off, Poiret established his own house in 1903, and made his name with his controversial kimono coat and similar, loose-fitting designs created specifically for an uncorseted, slim figure. He designed flamboyant window displays and threw parties to draw attention to his work. His instinct for marketing and branding was unmatched by any other Parisian designer, in 1909, he was so famous, Margot Asquith, wife of British Prime Minister H. H. Asquith, invited him to show his designs at 10 Downing Street. The cheapest garment at the exhibition was 30 guineas, double the salary of a scullery maid. Poirets house expanded to encompass interior decoration and fragrance, in1911 Poiret unveiled “Parfums de Rosine with a flamboyant soiree held at his palatial home, attended by the cream of Parisian society and the artistic world. Poiret fancifully christened the event “la mille et deuxième nuit”, inspired by the fantasy of a sultans harem and his gardens were illuminated by lanterns, set with tents, and live, tropical birds. Madame Poiret herself luxuriated in a golden cage, Poiret was the reigning sultan, gifting each guest with a bottle of his new fragrance creation, appropriately named to befit the occasion, “Nuit Persane. ”His marketing strategy, played out as entertainment, became the talk of Paris. A second scent debuted in 1912 - “Le Minaret, ” again emphasizing the harem theme, in 1911, publisher Lucien Vogel dared photographer Edward Steichen to promote fashion as a fine art in his work. Steichen responded by snapping photos of gowns designed by Poiret, hauntingly backlit and these were published in the April 1911 issue of the magazine Art et Décoration. However, notable couture names were missing from this brilliant assemblage, including such major tastemakers as Lucile, Jeanne Lanvin, also in 1911, Poiret launched the École Martine, a home decor division of his design house, named for his second daughter. The establishment provided artistically inclined, working-class girls with trade skills, in 1911 Poret leased part of the property at 109 Rue du Faubourg Saint Honoré to his friend Henri Barbazanges, who opened the Galerie Barbazanges to exhibit contemporary art

14.
Evelyn Nesbit
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Florence Evelyn Nesbit, known professionally as Evelyn Nesbit, was a popular American chorus girl, an artists model, and an actress. She had the distinction of being a live model, in an era when fashion photography as an advertising medium was just beginning its ascendancy. Nesbit was born Florence Evelyn Nesbit on December 25,1884, in Tarentum and her actual year of birth remains unconfirmed, her real year of birth may have been 1886. In later years, Nesbit confirmed that her mother at times added several years to her age in order to circumvent child labor laws and she was the daughter of Winfield Scott Nesbit and his wife, née Evelyn Florence McKenzie and was of Scots-Irish ancestry. Legend has it that the girl was so beautiful that neighbors came for months after her birth to gaze at. Two years later, a son named Howard was born to the family, Nesbit had an especially close relationship with her father, striving to please him with her accomplishments. Nesbit recognized his daughters intellectual interests and encouraged her curiosity and self-confidence, cognizant of her love of reading, he chose books for her to read and set up a small library for her. It contained diverse material, including fairy tales, fantasies, when Nesbit showed an interest in music and dance, he encouraged her to take lessons in those areas. Although Mr. Nesbit displayed no outward favoritism toward either of his children, the Nesbit family moved to Pittsburgh around 1893. By all accounts, her father, an attorney, was an affable man. Her mother, Evelyn, was an example of the Victorian woman, content to dedicate her life to the domestic responsibilities of running a household. Her father, Winfield died suddenly at age 40 when Evelyn was 11 and they lost their home and watched as all their possessions were auctioned off to pay outstanding debts. Mrs. Nesbit was unable to work to earn money using her dressmaking skills. They lived an existence, sharing a single room in a series of boarding houses. To ease the burden, little Howard Nesbit was often sent to live with relatives or family friends for indeterminate periods of time. Eventually Mrs. Nesbit used donated funds to rent a house, many years later in 1915, Nesbit described this period in her family’s misfortunes, Mamma was always worried about the rent. It was too hard a thing for her to ask for every week. Even at such an age, Nesbit recalled her discomfort with being the rent collector

15.
Waist (clothing)
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Waist was a common term in the United States for the bodice of a dress or for a blouse or womans shirt from the early 19th century through the Edwardian period. A shirtwaist was originally a separate blouse constructed like a shirt, i. e. of shirting fabric with turnover collar and cuffs and a front button closure. From the mid-20th century, shirtwaist referred to a dress with the upper portion fashioned like a shirt, with a turnover collar. Different embroidery were added to the shirtwaist, like rhinestones and different patterns, corsage Triangle Shirtwaist Factory Fire Picken, Mary Brooks

16.
Bodice
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A bodice is an article of clothing for women, covering the body from the neck to the waist. The term comes from pair of bodies, in dressmaking, the term waist was also used. During wear, the parts might be connected by hooks and eyes, one-piece construction became more common after 1900 due to the trend for looser, more simply-constructed clothing with narrower skirts. To achieve a shape and support the bust, the bodice was frequently stiffened with bents. The bodice was different from the corset of the time because it was intended to be worn over the other garments, in earlier periods, bodices and corsets were laced in spiral fashion, with one continuous lace. In later periods, both were laced like the tennis shoe, with eyelets facing one another. This was more convenient for women who had to dress themselves, one mid-19th-century style included the Agnes Sorel bodice, named after 15th-century royal mistress Agnes Sorel. This style was a day wear bodice, with a square cut neckline that had a front and back. Bodice continues in use to refer to the portion of a one- or two-piece dress. The bodice of a dress was called the corsage in the 19th century, bodices survive into modern times in the traditional or revived folk dress of many European countries. They are also seen today at Society for Creative Anachronism events or a Renaissance Fair. Dirndl Arnold, Janet, Patterns of Fashion, the cut and construction of clothes for men and women 1560-1620, steele, Valerie, The Corset, A Cultural History Yale University Press,2001

17.
Suit (clothing)
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In clothing, a suit is a set of garments made from the same cloth, usually consisting of at least a jacket and trousers. Lounge suits, which originated in Britain as country wear, are the most common style of Western suit and this article discusses the lounge suit, elements of informal dress code. The variations in design, cut, and cloth, such as two- and three- piece, or single- and double- breasted, determine the social, often, suits are worn, as is traditional, with a collared shirt and necktie. Until around the 1960s, as with all mens clothes, a hat would have also worn when the wearer was outdoors. Suits also come with different numbers of pieces, a suit has a jacket and the trousers. Originally, as with most clothes, a tailor made the suit from his clients selected cloth, the suit was custom made to the measurements, taste, and style of the man. Since the Industrial Revolution, most suits are mass-produced, and and it was in the search for more comfort that the loosening of rules gave rise in the late 19th century to the modern lounge suit. As a suit covers all or most of the wearers body, brooks Brothers is generally credited with first offering the ready-to-wear suit, a suit which was sold already manufactured and sized, ready to be tailored. It was Haggar Clothing that first introduced the concept of suit separates in the US, the concept of separately sold jackets and trousers, there are many possible variations in the choice of the style, the garments and the details of a suit. The silhouette of a suit is its outline, tailored balance created from a canvas fitting allows a balanced silhouette so a jacket need not be buttoned and a garment is not too tight or too loose. A proper garment is shaped from the neck to the chest, shape is the essential part of tailoring that often takes hand work from the start. Good tailoring anywhere in the world is characterised by strongly tapered sides and minimal shoulder, more casual suits are characterised by less construction and tailoring, much like the sack suit is a loose American style. The acid test of authentic tailoring standards is the wrinkle that comes from poor tailoring, for interim fittings, Rock Of Eye, drawing and cutting inaccuracies are overcome by the fitting. Suits are made in a variety of fabrics, but most commonly from wool, the two main yarns produce worsteds and woollens. These can be woven in a number of ways producing flannel, tweed, gabardine, other materials are used sometimes, either alone or blended with wool, such as cashmere. Silk alone or blended with wool is sometimes used, synthetic materials, while cheaper, e. g. polyester, are very rarely recommended by experts. For hot weather, linen is also used, and in North America cotton seersucker is worn, the main four colours for suits worn in business are black, light grey, dark grey, and navy, either with or without patterns. In particular, grey flannel suiting has been very widely since the 1930s

18.
Tailor
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A tailor is a person who makes, repairs, or alters clothing professionally, especially suits and mens clothing. The term refers to a set of hand and machine sewing and pressing techniques that are unique to the construction of traditional jackets. Retailers of tailored suits often take their services internationally, traveling to various cities, traditional tailoring is called bespoke tailoring in the United Kingdom, where the heart of the trade is Londons Savile Row tailoring, and custom tailoring in the United States and Hong Kong. This is unlike made to measure which uses pre-existing patterns, a bespoke garment or suit is completely original and unique to each customer. Famous fictional tailors include the tailor in The Tailor of Gloucester, The Emperors New Clothes, a more recent example is John le Carrés The Tailor of Panama. As the tailoring profession has evolved, so too have the methods of tailoring, there are a number of distinctive business models of which modern tailors may practice. While some may practice many, there are others who will only one or two. Local tailoring is as the name implies, typically the tailor is met locally and the garment produced locally. This method enables the tailor to take measurements, assess posture. Local tailors will typically have a showroom or shopfront allowing clients to choose fabrics from samples or return the garment easily should it require further modification and this is the most traditional form of tailoring. Hong Kong and London are the most famous for high quality bespoke tailoring, distance tailoring involves ordering a garment from an out-of-town tailor enabling cheaper labour to be used. In practice this can now be done on a global scale via e-commerce websites, unlike local tailoring, customers must take their own measurements, fabric selection must be made from a photo, and if further alterations are required the garment must be shipped. Today, the most common platform for distance tailoring is via online tailors, online tailors sometimes offer to pay for needed alterations at a local tailor. Another new option is the concept where a free test suit is made to the provided measurements, the test suit can be tried on and worn to see where any adjustments are wanted. The final suit is tailored to the new specifications provided by the test suit fitting. Traveling tailors travel between cities and station in a luxury hotel for a short period of time to meet. In the hotel, the customer will be able to select the fabric from samples, the order then will be shipped to the customer within three to four weeks time. Unlike local tailoring, if further alterations are required the garment must be shipped, today, most traveling tailors are from Hong Kong, traveling to the United States, the United Kingdom, France, Australia and Japan

19.
Sailor hat
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A sailor hat is a brimmed straw hat similar to those historically worn by nineteenth century sailors before the sailor cap became standard. Such hats could also be made in felt as an alternative to straw, the sennit or straw hat formed part of the British naval uniform up until 1921 when it was formally discontinued by order on March 16,1921. The sailor was a form of fashionable headgear for women and children in the nineteenth and twentieth centuries. Children often wore it with sailor suits, for women, the sailor became fashionable from the 1870s onwards, in a rather smaller form than its inspiration. One 1870s variation on the style was the Marin anglais bonnet, in most decades since the 1870s the sailor, or variations thereof, has been in fashion, or a staple form of headgear. One popular variation was the short-back sailor, distinguished by its broad flat brim, narrowing sharply in the back. The sailor hat was a key part of Chanels trademark little boy look that she popularised in the 1920s and revived in 1954 for her comeback collection

20.
History of fashion design
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The history of fashion design refers to the development of the fashion industry which designs clothing and accessories. Rose Bertin was the dressmaker named bill to Marie Antoinette, Queen of France, an outsider to the French Court, Marie Antoinette relied on Bertins meticulous designs to help her to combat her enemies with style. Although Marie Antoinettes attempts were unsuccessful, the ways Bertin helped the Queen articulate herself through fashion were groundbreaking. A former draper, Worths success was such that he was able to dictate what they should wear to his customers, launched into the spotlight as the Empress Eugénies primary designer, Worth used his royal connections to gain recognition and clients. The proclamation on February 1,1853 by Napolón III that no visitors would be received to his court without formal dress meant that the popularity of Worth-style gowns was overwhelming. Ornately decorated and constructed from the finest materials, Worths gowns are well known for their crinolines (cage-like metal structures that held the dress out in a stylish shape, throughout the early 20th century, practically all high fashion originated in Paris and to a lesser extent London. Fashion magazines from other countries sent editors to the Paris fashion shows, department stores sent buyers to the Paris shows, where they purchased garments to copy. Both made-to-measure salons and ready-to-wear departments featured the latest Paris trends, adapted to the assumptions about the lifestyles. At this time in history the division between haute couture and ready-to-wear was not sharply defined, the two separate modes of production were still far from being competitors and they often co-existed in houses where the seamstresses moved freely between made-to-measure and ready-made. Around the start of the 20th century fashion magazines began to include photographs, throughout the world these magazines were greatly sought-after and had a profound effect on public taste. Perhaps the most famous of these magazines was La Gazette du Bon Ton which was founded in 1912 by Lucien Vogel, the outfits worn by fashionable women of La Belle Époque these were strikingly similar to those worn in the heyday of the fashion pioneer Charles Worth. However, the fashions of the Belle Époque still retained the elaborate, the changing of fashion was unthinkable, so the use of different trimmings was all that distinguished one season from the other. Conspicuous waste and conspicuous consumption defined the fashions of the decade and the outfits of the couturiers of the time were incredibly extravagant, ornate, the curvaceous S-Bend silhouette dominated fashion up until around 1908. The S-Bend corset was very tightly laced at the waist which forced the hips back, when the Ballets Russes performed Scheherazade in Paris in 1910, a craze for Orientalism ensued. The couturier was one of the first designers to translate this vogue into the fashion world, poirets clients were at once transformed into harem girls in flowing pantaloons, turbans, and vivid colors and geishas in exotic kimono. Paul Poiret also devised the first outfit which women could put on without the help of a maid, the Art Deco movement began to emerge at this time and its influence was evident in the designs of many couturiers of the time. Simple felt hats, turbans, and clouds of tulle replaced the styles of headgear popular in the 20th century, two of the most influential fashion designers of the time were Jacques Doucet and Mariano Fortuny. The French designer Jacques Doucet excelled in superimposing pastel colors and his elaborate gossamery dresses suggested the Impressionist shimmers of reflected light and his distinguished customers never lost a taste for his fluid lines and flimsy, diaphanous materials

21.
Haute couture
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Haute couture is the creation of exclusive custom-fitted clothing. A haute couture garment is made for a client, tailored specifically for the wearers measurements. Considering the amount of time, money, and skill allotted to each completed piece, haute couture garments are described as having no price tag. The term originally referred to Englishman Charles Frederick Worths work, produced in Paris in the mid-nineteenth century, in modern France, haute couture is a protected name that may not be used except by firms that meet certain well-defined standards. However, the term is used loosely to describe all high-fashion custom-fitted clothing whether it is produced in Paris or in other fashion capitals such as London, Milan. In either case, the term can refer to the houses or fashion designers that create exclusive. In France, the haute couture is protected by law and is defined by the Chambre de commerce et dindustrie de Paris based in Paris. The chambre syndicale de la haute couture is defined as the commission that determines which fashion houses are eligible to be true haute couture houses. Formation of the organization was brought about by Charles Frederick Worth, an affiliated school was organized in 1930 called LEcole de la Chambre Syndicale de la Couture. The school helps bring new designers to help the couture houses that are present today. Since 1975, this organization has worked within the Federation Francaise, de couture, more rigorous criteria for haute couture were established in 1945. g. With that of prêt-à-porter in the public perception, almost every haute couture house also markets prêt-à-porter collections, which typically deliver a higher return on investment than their custom clothing. Falling revenues have forced a few houses to abandon their less profitable haute couture division. These houses are no longer considered haute couture houses by the original, legal usage of the term. Many top designer fashion houses such as Chanel use the word for some of their special collections, as well, the term haute couture has taken on further popular meanings referring to non-dressmaking activities, such as production of fine art, music, etc. Haute couture can be referenced back as early as the 17th Century, rose Bertin, the French fashion designer to Queen Marie Antoinette, can be credited for bringing fashion and haute couture to French culture. Visitors to Paris brought back clothing that was copied by local dressmakers. Stylish women also ordered fashion d dressed in the latest Parisian fashion to serve as models, as railroads and steamships made European travel easier, it was increasingly common for wealthy women to travel to Paris to shop for clothing and accessories

22.
Model (person)
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A model is a person with a role either to promote, display, or advertise commercial products or to serve as a visual aide for people who are creating works of art or to pose for photography. Modelling is considered to be different from other types of public performance, although the difference between modelling and performing is not always clear, appearing in a film or a play is not generally considered to be modelling. Types of modelling include, fashion, glamour, fitness, bikini, fine art, body-part, Models are featured in a variety of media formats including, books, magazines, films, newspapers, internet and TV. Fashion models are featured in films, reality TV shows. Celebrities, including actors, singers, sports personalities and reality TV stars, modelling as a profession was first established in 1853 by Charles Frederick Worth, the father of haute couture, when he asked his wife, Marie Vernet Worth, to model the clothes he designed. The term house model was coined to describe this type of work, eventually, this became common practice for Parisian fashion houses. There were no standard physical measurement requirements for a model, with the development of fashion photography, the modelling profession expanded to photo modelling. Models remained fairly anonymous, and relatively poorly paid, until the late 1950s, one of the first well-known models was Lisa Fonssagrives, who was very popular in the 1930s. Fonssagrives appeared on over 200 Vogue covers, and her name recognition led to the importance of Vogue in shaping the careers of fashion models. In 1946, Ford Models was established by Eileen and Gerard Ford in New York, one of the most popular models during the 1940s was Jinx Falkenburg who was paid $25 per hour, a large sum at the time. During the 1940s and 1950s, Wilhelmina Cooper, Jean Patchett, Dovima, Dorian Leigh, Suzy Parker, Evelyn Tripp, Carmen DellOrefice, dorothea Church was among the first black models in the industry to gain notoriety in Paris. However, these models were unknown outside the fashion community, compared to todays models, the models of the 1950s were more voluptuous. Wilhelmina Coopers measurements were 38-24-36 whereas Chanel Imans measurements are 32-23-33, in the 1960s, the modelling world began to establish modelling agencies. Throughout Europe, secretarial services acted as models agents charging them weekly rates for their messages, for the most part, models were responsible for their own billing. In Germany, agents were not allowed to work for a percentage of a persons earnings, with the exception of a few models travelling to Paris or New York, travelling was relatively unheard of for a model. Most models only worked in one market due to different labor laws governing modelling in various countries, in the 1960s, Italy had many fashion houses and fashion magazines but was in dire need of models. Italian agencies would often coerce models to return to Italy without work visas by withholding their pay and they would also pay their models in cash, which models would have to hide from customs agents. It was not uncommon for models staying in such as La Louisiana in Paris or the Arena in Milan to have their hotel rooms raided by the police looking for their work visas

23.
Longchamp Racecourse
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The Longchamp Racecourse is a 57 hectare horse-racing facility located on the Route des Tribunes in the Bois de Boulogne in Paris, France. Built on the banks of the Seine River, it is used for racing and is noted for its variety of interlaced tracks. It has several racetracks varying from 1,000 to 4,000 metres in length with 46 different starting posts, the course is home to more than half of the group one races held in France, and has a capacity of 50,000. The highlight of the calendar is the Prix de lArc de Triomphe, held on the first weekend in October, the prestigious event attracts the best horses from around the world. The first-ever race run at Longchamp was on Sunday, April 27,1857 in front of a massive crowd, the Emperor Napoleon III and his wife Eugénie were present, having sailed down the Seine River on their private yacht to watch the third race. Until 1930, many Parisians came to the track down the river on steamboats and various other vessels, the trip taking around an hour to the Pont de Suresnes. The royal couple joined Prince Jérôme Bonaparte and his son Prince Napoleon in the Royal Enclosure alongside the Prince of Nassau, Prince Murat and the Duke of Morny, an avid racegoer. Non-aristocratic members of the classes were not permitted into the Royal enclosure and had to be content with watching from their barouche carriages on the lawn. Racing continued during the German occupation of France in World War II, the bonus DVD on the re-release of the U2 album, The Joshua Tree features a concert from the Joshua Tree Tour filmed at Longchamp. Longchamp Racecourse at France-Galop official website New York Times article Horse Racing in France with a focus on Longchamp Racecourse

24.
Callot Soeurs
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Callot Soeurs was one of the leading fashion design houses of the 1910s and 1920s. Callot Soeurs opened in 1895 at 24, rue Taitbout in Paris and it was operated by the four Callot sisters, Marie Callot Gerber, Marthe Callot Bertrand, Regina Callot Tennyson-Chantrell and Joséphine Callot Crimont. The sisters were born in France to a Russian family, the eldest sister, Marie, was trained in dressmaking, having earlier worked for Raudnitz and Co. prominent Parisian dressmakers, and they were all taught by their mother, a lacemaker. The sisters began working with antique laces and ribbons to enhance blouses and their success led to an expansion into other clothing. In 1900, they were featured at the Paris World’s Fair and that year, they had a staff of two hundred and did two million francs in sales. By 1901, they had tripled their workforce and doubled their sales, Callot Soeurss day dresses were well-received at the 1915 Universal Exhibition in San Francisco. In 1916, Henri Bendel was the largest buyer of Callot Soeurs in New York City. That same year, American Vogue dubbed the sisters the Three Fates, while European sales fell, American buyers would order between 300 and 800 pieces every July. In response to the proliferation of knockoffs in the 1910s and 1920s, in 1919, Callot Soeurs moved to larger premises at 9-11 Avenue Matignon. In 1920, Marthe Callot Bertrand suddenly died and the widowed Regina Callot Tennyson-Chantrell retired to care for her son, Marie Callot Gerber single-handedly ran the house for the next seven years. In the 1920s, Callot Soeurs established branches in Nice, Biarritz, Buenos Aires, a January 1922 article in Ladies Home Journal claimed that Callot probably has more rich clients than any other establishment in the world. They come from South America, from South Africa, and as far east as Japan, in 1926, the American designer Elizabeth Hawes, while working in Paris, regularly wore Callot Soeurs. Callot Soeurss greatest American supporter was Rita de Acosta Lydig who ordered dozens of dresses at a time, according to her sister Mercedes de Acosta, Rita designed most of her own clothes and they were made for her by Callot Soeurs. Supposedly, Rita was such a plate that when she learned her husband was having an affair with a poorly dressed woman. Rita wore a silver Callot Soeurs dress when she posed for Giovanni Boldini in 1911, Marie Callot Gerber died in 1927. Her obituary in Le Figaro commented, One of the most beautiful figures of the Parisian luxury business has now disappeared, however, World War II made matters difficult in France. Similarly to what happened with the House of Vionnet in 1939, Calvet, the couturier Madeleine Vionnet was head seamstress at Callot. It was here that she refined her technique in couture, Madeleine Vionnet explained that “Without the example of the Callot Soeurs, I would have continued to make Fords

25.
Madeleine Vionnet
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Madeleine Vionnet was a French fashion designer. Born in Loiret, France, Vionnet trained in London before returning to France to establish her first fashion house in Paris in 1912. Although it was forced to close in 1914 at the outbreak of the First World War, it re-opened after the war, Vionnet was forced to close her house in 1939 and retired in 1940. Born on 22 June 1876 into a family in Chilleurs-aux-Bois. Having already left school, Vionnet began her apprenticeship at age twelve as a seamstress alongside members of the garde champêtre. After a brief marriage at age 18 – and the loss of her young child – she left her husband, while in London, Vionnet worked as a fitter for Kate Reily. Vionnet eventually returned to Paris, working for six years in the fashion house Callot Soeurs as a toile maker, after a disagreement with a manager of the house, Vionnet threatened to leave her post. She was convinced to stay by the eldest of the Callot sisters, Vionnet later praised Marie Callot Gerber as a great lady and later remarked that without the example of the Callot Soeurs, I would have continued to make Fords. It is because of them that I have been able to make Rolls Royces and her desire for simplicity was ultimately at odds with the characteristic lacy frills of the fashion house. Vionnet designed for Jacques Doucet between 1907 and 1911, but her use of models and design of loose robes clashed with the style of the house. In 1912 she founded her own house, Vionnet, which closed in 1914 owing to the beginning of the First World War. Re-establishing the house in 1923, Vionnet opened new premises on Avenue Montaigne, in 1925, Vionnets fashion house expanded with premises on Fifth Avenue in New York City. She sold designs purchased off the peg and adapted to the wearer, Vionnets vision of the female form revolutionized modern clothing, and the success of her unique cuts assured her reputation. She fought for laws in fashion. She instituted what, at the time, were considered revolutionary labor practices, paid holidays and maternity leave, day-care, a hall. The onset of World War II forced Vionnet to close her house in 1939. Vionnet created some 12,000 garments over the course of her career, there is something superficial and volatile about the seasonal and elusive whims of fashion which offends my sense of beauty. Vionnet was not concerned with being the designer of the moment, alongside Coco Chanel, Vionnet is credited with a move away from stiff, formalised clothing to sleeker, softer clothes

26.
Jacques Doucet (fashion designer)
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Jacques Doucet was a French fashion designer and art collector. He is known for his elegant dresses, made with translucent materials in superimposing pastel colors. Doucet was born in Paris in 1853 to a family whose lingerie and linens business. In 1871, Doucet opened a salon selling ladies apparel, an enthusiastic collector of eighteenth-century furniture, objets dart, paintings and sculptures, many of his gowns were strongly influenced by this opulent era. His most original designs were those he created for actresses of the time, cécile Sorel, Rejane and Sarah Bernhardt all often wore his outfits, both on and off the stage. For the aforementioned actresses he reserved a particular style, one consisted of frills, sinuous curving lines. Doucet was a designer of taste and discrimination who valued dignity and luxury above novelty and practicality, the hôtel particulier, owned by Doucet was designed by the architect Paul Ruaud. Laurens designed the fountain, Csaky designed Doucets staircase, Lipchitz made the fireplace mantel, francois Chapon wrote a book titled Cetait Jacques Doucet about the life and work of the fashion designer. Jacques Doucet at the Fashion Model Directory Bibliothèque littéraire Jacques Doucet

27.
Vogue (magazine)
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Vogue is an American fashion and lifestyle magazine made up of many components including fashion, beauty, culture, living, and runway. Vogue began as a newspaper in 1892 in the United States. The British Vogue was the first international edition launched in 1916, Turnures intention was to create a publication that celebrated the ceremonial side of life, one that attracts the sage as well as debutante, men of affairs as well as the belle. From its inception, the magazine targeted the new New York upper class, the magazine at this time was primarily concerned with fashion, with coverage of sports and social affairs included for its male readership. Despite the magazines content, it very slowly during this period. Condé Montrose Nast purchased Vogue in 1905 one year before Turnures death and he changed it to a bi-weekly magazine and started Vogue overseas in the 1910s. Under Nast, the magazine shifted its focus to women. The magazines number of publications and profit increased dramatically under Nasts management, by 1911, the Vogue brand had garnered a reputation that it continues to maintain, targeting an elite audience and expanding into the coverage of weddings. According to Condé Naste Russia, after the First World War made deliveries in the Old World impossible, the decision to print in England proved to be successful causing Nast to release the first issue of French Vogue in 1920. The magazines number of subscriptions surged during the Great Depression, during this time, noted critic and former Vanity Fair editor Frank Crowninshield served as its editor, having been moved over from Vanity Fair by publisher Condé Nast. In July of 1932, American Vogue placed its first color photograph on the cover of the magazine, the photograph was taken by photographer Edward Steichen and portrays a woman swimmer holding a beach ball in the air. Nast was responsible for introducing color printing and the two-page spread and he greatly impacted the magazine and turned it into a successful business and the womens magazine we recognize today and greatly increased the sales volumes until his death in 1942. Toward this end, Vogue extended coverage to include East Village boutiques such as Limbo on St, marks Place, as well as including features of downtown personalities such as Andy Warhols Superstar Jane Holzers favorite haunts. Vogue also continued making household names out of models, a practice continued with Suzy Parker, Twiggy, Jean Shrimpton, Lauren Hutton, Veruschka, Marisa Berenson, Penelope Tree. In 1973, Vogue became a monthly publication, under editor-in-chief Grace Mirabella, the magazine underwent extensive editorial and stylistic changes to respond to changes in the lifestyles of its target audience. Mirabella states that she was chosen to change Vogue because women werent interested in reading about or buying clothes that served no purpose in their changing lives and she was selected to make the magazine appeal to the the free, working, liberated woman of the seventies. She changed the magazine by adding text with interviews, arts coverage, when that type of stylihtic ceange f ell out of favor in the 1980s, Mirabella was brutally fired. Her take on it, For a magazine devoted to style, in July of 1988, after Vogue had began to lose ground to a three-year-old upstart Elle, Anna Wintour was named editor-in-chief

28.
Camisole
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A camisole is a sleeveless undergarment for women, normally extending to the waist. The camisole is usually made of satin, nylon, or cotton, historically, camisole referred to jackets of various kinds, including overshirts, womens négligées and sleeved jackets worn by men. In modern usage a camisole or cami is a loose-fitting sleeveless womans undergarment which covers the top part of the body but is shorter than a chemise. A camisole normally extends to the waist but is sometimes cropped to expose the midriff, camisoles are manufactured from light materials, commonly cotton-based, occasionally satin or silk, or stretch fabrics such as lycra, nylon, or spandex. A camisole typically has thin spaghetti straps and can be worn over a brassiere or without one, since 1989, some camisoles have come with a built-in underwire bra or other support which eliminates the need for a bra among those who prefer one. Starting around the 2000s, camisoles have been known to be used as outerwear, a variety of sleeveless body shaping undergarments have been derived from the camisole shape, offering medium control of the bust, waist and/or abdomen. Such control camisoles are the most casual of shaping garments, covering the torso from above the chest to at or below the waist. They look similar to tight-fitting cotton or silk camisoles, but the straps are usually wider, the longer. Babydoll Basque Brassiere Bustier Camiknickers Corset Barbier, Muriel & Boucher, ISBN 0-85670-901-8 The Free Library citations for camisole in Thackeray, Charlotte Brontë, and Somerset Maugham

29.
Embroidery
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Embroidery is the handicraft of decorating fabric or other materials with needle and thread or yarn. Embroidery may also incorporate materials such as, pearls, beads, quills. Today, embroidery is most often seen on caps, hats, coats, blankets, dress shirts, denim, stockings, Embroidery is available with a wide variety of thread or yarn color. The process used to tailor, patch, mend and reinforce cloth fostered the development of sewing techniques, indeed, the remarkable stability of basic embroidery stitches has been noted, It is a striking fact that in the development of embroidery. There are no changes of materials or techniques which can be felt or interpreted as advances from a primitive to a later, on the other hand, we often find in early works a technical accomplishment and high standard of craftsmanship rarely attained in later times. The art of embroidery has been found world-wide and several examples have been found. Works in China have been dated to the Warring States period, depending on time, location and materials available, embroidery could be the domain of a few experts or a wide-spread, popular technique. This flexibility led to a variety of works, from the royal to the mundane, in 18th century England and its colonies, samplers employing fine silks were produced by the daughters of wealthy families. Embroidery was a marking a girls path into womanhood as well as conveying rank. Conversely, embroidery is also an art, using materials that were accessible to nonprofessionals. Examples include Hardanger from Norway, Merezhka from Ukraine, Mountmellick embroidery from Ireland, Nakshi kantha from Bangladesh and West Bengal, many techniques had a practical use such as Sashiko from Japan, which was used as a way to reinforce clothing. Embroidery was an important art in the Medieval Islamic world, the 17th century Turkish traveler Evliya Çelebi called it the craft of the two hands. Because embroidery was a sign of social status in Muslim societies. Craftsmen embroidered items with gold and silver thread, Embroidery cottage industries, some employing over 800 people, grew to supply these items. Taste for fine material has become general, and the drapery of embroidered fabrics used at feasts surpasses every description. The development of embroidery and its mass production came about in stages in the Industrial Revolution. The earliest machine embroidery used a combination of machine looms and teams of women embroidering the textiles by hand and this was done in France by the mid-1800s. The manufacture of machine-made embroideries in St. Gallen in eastern Switzerland flourished in the half of the 19th century

30.
Passementerie
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Passementerie or passementarie is the art of making elaborate trimmings or edgings of applied braid, gold or silver cord, embroidery, colored silk, or beads for clothing or furnishings. Styles of passementerie include the tassel, fringes, ornamental cords, galloons, pompons, rosettes, tassels, pompons, and rosettes are point ornaments, and the others are linear ornaments. Passementerie worked in white thread is the origin of bobbin lace. Today, passementerie is used with clothing, such as the braid on military dress uniforms. They are also used in furniture trimming, such as the Centripetal Spring Armchair of 1849 and some lampshades, draperies, fringes, in the West, tassels were originally a series of windings of thread or string around a suspending string until the desired curvature was attained. Decades later, turned wooden moulds, which were covered in simple wrappings or much more elaborate coverings called satinings, were used. This involved an intricate binding of bands of filament silk vertically around the mould by means of an internal lacing in the bore of the mould, a tassel is primarily an ornament, and was at first the casual termination of a cord to prevent unraveling with a knot. As time went on, various peoples developed variations on this, in the 16th century, the Guild of Passementiers was created in France. In France practitioners of the art were called passementiers, and an apprenticeship of seven years was required to become a master in one of the subdivisions of the guild, the Guild documented the art of passementerie. The tassel was its primary expression, but it also included fringes, ornamental cords, galloons, pompons, rosettes, tassels, pompons, and rosettes are point ornaments, the others are linear ornaments. These constructions were varied and augmented with extensive ornamentations and these constructions were each assigned an idiosyncratic term by their French practitioners. The French widely exported their very artistic work, and at low prices that no other nation developed a mature trimmings industry. Passementerie with clothing was for a time reserved for the elites as a sign of social distinction among royalty, aristocracy, religious. Since the 18th century, the use became obsolete with the simplification of clothing. Periodically historic designs return to favour by Interior and Fashion Designers, the middle of the 20th century saw a marked decline in the production and range of these products. The latter part of the 20th century has seen a resurgence in interest partly led by the film set designers and costumiers. European and American artisans specialising in products are increasing in number. Picken, Mary Brooks, The Fashion Dictionary, Funk and Wagnalls,1957, passementerie page at The Tailors Art, Museum of the Fashion Institute of Technology

31.
Duster (clothing)
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A duster is a light, loose-fitting long coat. The original dusters were full-length, light-colored canvas or linen coats worn by horsemen to protect their clothing from trail dust and these dusters were typically slit up the back to hip level for ease of wear on horseback and were the recommended uniform for Texas Rangers. Dusters intended for riding may have such as a buttonable rear slit. For better protection against rain, dusters were made from oilcloth, in the late 19th and early 20th centuries, both men and women wore dusters to protect their clothes when riding in open motorcars on the dirt roads of the day. Western horsemens dusters gained renewed popularity in the late 20th century and are now an item of western wear. They figured little in Western films until Sergio Leone re-introduced them in his movies The Good, the Bad, the latter played for many months in Paris and was in part credited with a revival of the duster in mens fashions in that city. In modern times, leather dusters are worn by motorcyclists to prevent road rash, similarly, in the genre of heroic bloodshed, primarily through Chow Yun Fat and John Woo, the hero is often seen wearing a duster. Driza-Bone J. Barbour & Sons Trench coat George-Warren, Holly, picken, Mary Brooks, The Fashion Dictionary, Funk and Wagnalls,1957. Merriam Websters 10th Collegiate Dictionary Oxford English Dictionary

32.
Homburg (hat)
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A homburg is a formal felt hat characterized by a single dent running down the center of the crown, a stiff brim shaped in a kettle curl and a bound edge trim. The homburg is made from felt and has a grosgrain hatband. Although the homburg is a hat, it is not an alternative to the top hat. The original homburg was of slightly more generous proportions than the modern version and it was popularized by Edward VII after he visited Bad Homburg in Hesse, Germany, and brought back a hat of this style. He was flattered when his hat style was mimicked, and at times he insisted on being copied, anthony Eden made the dark homburg so fashionable in the 1930s that it became known as the Eden on Savile Row. At his 1953 inauguration, Dwight D. Eisenhower broke with tradition by wearing a homburg instead of a top hat. Like other formal Western male headgear, the homburg is not as common as it once was, al Pacino gained some renewed fame for the homburg by wearing one in the film The Godfather, for which reason the hat is sometimes called a Godfather. Some Orthodox Jewish, usually Misnagdish, rabbis wear black homburgs and it is considered somewhat more traditional and distinguished than the black fedora commonly worn by Orthodox Jews. Former Chief Rabbi of Israel, Yona Metzger, is pictured wearing a Homburg hat

33.
Anders Zorn
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Anders Leonard Zorn was one of Swedens foremost artists. He obtained international success as a painter, sculptor, and etcher, among Zorns portrait subjects were King Oscar II of Sweden, and three American Presidents, Grover Cleveland, William H. Taft, and Theodore Roosevelt. At the end of his life, he established the Swedish literary Bellman Prize in 1920, Zorn was born and raised on his grandparents farm in Yvraden, a hamlet near the village of Utmeland in the parish of Mora, Dalarna. He studied until the age of twelve in the school at Mora Strand before progressing in the autumn of 1872 to a grammar school in Enköping. From 1875 to 1880 Zorn studied at the Royal Swedish Academy of Arts in Stockholm, members of Stockholm society approached him with commissions. This was how Zorn met his wife, Emma Lamm, early in 1881 and her background was different from Zorns. Coming from a wealthy Jewish merchant family, she was interested in art, Zorn traveled extensively to London, Paris, the Balkans, Spain, Italy and the United States, becoming an international success as one of the most acclaimed painters of his era. It was primarily his skill as a painter that gained Zorn international acclaim based principally upon his incisive ability to depict the individual character of his model. His subjects included three American Presidents, one of whom was Grover Cleveland in 1899, as well as his wife, along with William H. Taft, at 29, he was made a Chevalier de la Légion dhonneur at the Exposition Universelle 1889 Paris World Fair. Portrait paintings Zorns art made him wealthy and he was able to build up a considerable collection of art. The objects were not only bought in his country but also during the many travels he made abroad. In their joint will, Anders and Emma Zorn donated their holdings to the Swedish State. Some of his most important works can be seen at the National Museum of Fine Arts in Stockholm, among them is Midsummer Dance, a depiction of dancers in the evening light of a rural Midsummers Eve celebration. Other museums holding works by Zorn include the Musée dOrsay in Paris, the Metropolitan Museum of Art in New York. The Zorn Collections located in Mora and Garberg, Älvdalen, consist of four dedicated to the life. The main museum - Zornmuseet - was designed by Ragnar Östberg, shown there are extensive works of Zorn and his collected art by Rembrandt Harmensz van Rijn, The Hovingham Master, Bruno Liljefors, Albert Edelfelt, and Pehr Hilleström. The Bellman Prize is a prize for an outstanding Swedish poet. The prize was established by Anders Zorn and his wife Emma in 1920, in 1886, Anders Zorn and his wife Emma, had bought land close to Mora church and here they moved a cottage from his maternal grandfathers farm

34.
Frock coat
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A frock coat is a mans coat characterised by a knee-length skirt all around the base, popular during the Victorian and Edwardian periods. The double-breasted style is called a Prince Albert. The frock coat is a fitted, long-sleeved coat with a vent at the back. This is achieved by a horizontal waist seam with side bodies. The frock coat was worn in much the same situations as modern lounge suits and formalwear. As was usual with all coats in the 19th century, shoulder padding was rare or minimal, the formal frock coat only buttons down to the waist seam, which is decorated at the back with a pair of buttons. The frock coat that buttoned up to the neck, forming a high, Frock coats emerged during the Napoleonic Wars, where they were worn by officers in the Austrian and various German armies during campaign. They efficiently kept the wearer warm as well as protected his uniform, privates and non-commission officers would wear greatcoats on campaign. This coat, popularised by Louis XIII of France and Charles II of England, was knee length and looser fitting than the later frock coat, with turn-back cuffs and two rows of buttons. English and French noblemen often wore expensive brocade coats decorated with velvet, gold braid, embroidery, before the frock coat existed, there was another garment called the frock in the 18th century, which was probably unrelated to the frock coat, sharing only a similarity in name. The earlier frock was originally country clothing that became common around 1730. Formal dress was then so elaborate that it was impractical for everyday wear, so the frock became fashionable as half dress, a less formal alternative. By the 1780s the frock was worn widely as town wear and it was thus the precursor to the modern dress coat worn with white tie. These relations can be seen in similar foreign terms, even coats with horizontally cut away skirts like a dress coat were referred to as a frock in the late eighteenth and very early 19th century, before being renamed to dress coat. Other meanings of the term frock include clerical garb, and a type of womans dress combining a skirt with a shirt–blouse top, when the frock coat was first worn, correct daytime full dress was a dress coat. The frock coat began as a form of undress, the clothing worn instead of the coat in more informal situations. The coat itself was possibly of military origin, towards the end of the 1820s, it started to be cut with a waist seam to make it more fitted, with an often marked waist suppression and exaggerated flair of the skirt. This hour-glass figure persisted into the 1840s, at this period, the frock coat became the most standard form of coat for formal day time dress

35.
Waistcoat
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A waistcoat is a sleeveless upper-body garment. It is usually worn over a shirt and necktie and below a coat as a part of most mens formal wear. It is also sported as the piece in the traditional three-piece male business suit. A waistcoat has a vertical opening in the front, which fastens with buttons or snaps. Both single-breasted and double-breasted waistcoats exist, regardless of the formality of dress, in a three piece suit, the cloth used matches the jacket and trousers. Waistcoats can also have lapels or revers depending on the style, before wristwatches became popular, gentlemen kept their pocket watches in the front waistcoat pocket, with the watch on a watch chain threaded through a buttonhole. Sometimes an extra hole was made in line with the buttonholes for this use, a bar on the end of the chain held it in place to catch the chain if it were dropped or pulled. Waistcoats are now worn less, so the pocket watch may more likely be stored in a trouser pocket, wearing a belt with a waistcoat, and indeed any suit, is not traditional. To give a more comfortable hang to the trousers, the waistcoat instead covers a pair of braces underneath it, a custom still sometimes practised is to leave the bottom button undone. This is said to have started by King Edward VII. Variations on this include that he forgot to fasten the lower button when dressing and it has also been suggested that the practice originated to prevent the waistcoat riding up when on horseback. This convention only applies to single-breasted day waistcoats and not double breasted, evening, waistcoats worn with lounge suits normally match the suit in cloth, and have four to six buttons. Double breasted waistcoats are rare compared to single, as formalwear, it used to be common to wear a contrastingly coloured waistcoat, such as in buff or dove linen. This is still seen in morning dress, which requires a waistcoat, the waistcoats worn with white- and black- tie are different from standard daytime single-breasted waistcoats, being much lower in cut. The variant of the clergy cassock may be cut as a vest and it differs in style from other waistcoats in that the garment buttons to the neck and has an opening that displays the clerical collar. In the Church of England, a particular High Church clerical vest introduced in the 1830s was nicknamed the M. B, waistcoat with M. B. standing for the Mark of the Beast. In the Girl Scouts of the USA, vests are used as an alternative to the sash for the display of badges, in many stock exchanges, traders who engage in open outcry may wear colored sleeveless waistcoats, or trading jackets, with insignia on the back. The waistcoat is one of the few articles of clothing whose origin historians can date precisely, King Charles II of England, Scotland and Ireland introduced the waistcoat as a part of correct dress after the Restoration of the British monarchy in 1660

36.
Trousers
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Trousers or pants are an item of clothing worn from the waist to the ankles, covering both legs separately. In the UK, the word generally means underwear and not trousers. Shorts are similar to trousers, but with legs that come only to around the area of the knee. To distinguish them from shorts, trousers may be called long trousers in certain such as school uniform. Made of wool, the trousers had straight legs and wide crotches, breeches were worn instead of trousers in early modern Europe by some men in higher classes of society. Since the mid-20th century, trousers have increasingly been worn by women as well, jeans, made of denim, are a form of trousers for casual wear, now widely worn all over the world by both sexes. Shorts are often preferred in hot weather or for sports and also often by children. Trousers are worn on the hips or waist and may be held up by their own fastenings, leggings are form-fitting trousers, of a clingy material, often knitted cotton and spandex. In Scotland, trousers are occasionally known as trews, which is the root of the word trousers. Trousers are also known as breeks in Scots, a related to breeches. The item of clothing worn under trousers is underpants, in North America and Australia pants is the general category term, whereas trousers often refers more specifically to tailored garments with a waistband, belt-loops, and a fly-front. So informal elastic-waist knitted garments would be called pants, but not trousers, North Americans call undergarments underwear, underpants, undies, jockey shorts, shorts, long johns or panties to distinguish them from other pants that are worn on the outside. The term drawers normally refers to undergarments, but in dialects, may be found as a synonym for breeches. In these dialects, the term underdrawers is used for undergarments, many North Americans refer to their undergarments by their type, such as boxers or briefs. In Australia, mens underwear also has various terms including under-dacks, undies. In New Zealand mens underwear is known as undies, or y-fronts, various people in the fashion industry use the words trouser or pant instead of trousers or pants. The words trousers and pants are pluralia tantum, nouns that generally appear in plural form—much like the words scissors. However, the form is used in some compound words, such as trouser-leg, trouser-press

37.
Blazer
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A blazer is a type of jacket resembling a suit jacket, but cut more casually. A blazer is generally distinguished from a sportcoat as a formal garment. Blazers often have naval-style metal buttons to reflect their origins as jackets worn by boating club members, a blazers cloth is usually durable, as it is intended as outdoor wear. Blazers are often part of a uniform that denotes, for example, an airlines employees, students of a school, members of sports clubs. Blazers are worn with a variety of other clothes, ranging from a dress shirt and necktie to an open-necked polo shirt. They are seen with trousers of all colors and fabrics, from the white cotton or linen, to grey flannel, to brown or beige chinos. A fitted, classically cut, double-breasted navy blue blazer with navy-style buttons is a popular design, particularly in North America and the United Kingdom, it is now frequently used in business casual attire. Blazers are worn as part of uniforms by many schools across the Commonwealth. These are blazers in the sense, single-breasted often of bright colors or with piping. This style is worn by some boat clubs, such as those in Cambridge or Oxford. In this case, the piping is in colours. This traditional style can be seen in films set in the Edwardian era. Where the blazer is part of the dress of a school, college, sports club, or armed service veterans association, in the British army officers do not normally wear badges on their blazers. Any two regimental blazers will very rarely be the same, as they are made up from different civilian sources and are not issued by any authority. This has come to be representative of the fact that the members of the association are now civilians, the standard color is navy blue, although in some associations different colors are worn, such as rifle green for the associations of rifle regiments. Two sporting events where blazers signify victory are the Congressional Cup Regatta at the Long Beach Yacht Club, the sartorial term blazer originated with the red blazers of the Lady Margaret Boat Club, the rowing club of St. Johns College, Cambridge. The Lady Margaret club jackets were termed blazers because of the red cloth. When I was at Cambridge it meant that and nothing else and it seems from your article that a blazer now means a colored flannel jacket, whether for cricket, tennis, boating, or seaside wear

38.
Flannel
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Flannel is a soft woven fabric, of various fineness. Flannel was originally made from carded wool or worsted yarn, but is now made from either wool, cotton. Vegetable flannel is made from Scots pine fibre, flannel may be brushed to create extra softness or remain unbrushed. Brushing is a process wherein a fine metal brush rubs the fabric to raise fine fibres from the loosely spun yarns to form a nap. Typically, flannel has a nap on one side or both sides. If the flannel is not napped, it gains its softness through the loosely spun yarn in its woven form, flannel is commonly used to make tartan clothing, blankets, bed sheets, and sleepwear. The term flannel shirt is used to mean any shirt with a plaid or tartan pattern. The origin of the word is uncertain, but a Welsh origin has been suggested as fabric similar to flannel can be traced back to Wales, the French term flanelle was used in the late 17th century, and the German Flanell was used in the early 18th century. Flannel has been made since the 17th century, gradually replacing the older Welsh plains, some of which were finished as cottons or friezes, in the 19th century, flannel was made particularly in towns such as Newtown, Montgomeryshire, Hay on Wye, and Llanidloes. The marketing of these Welsh woollen clothes was largely controlled by the Drapers Company of Shrewsbury, while nowadays, the colour of flannel is determined by dyes, originally this was achieved through mixing white, blue, brown and black wools in varying proportions. Lighter shades were achieved by bleaching with sulphur dioxide, originally it was made of fine, short staple wool, but by the 20th century mixtures of silk and cotton had become common. It was at time that flannel trousers became popular in sports, especially cricket. The use of flannel plaid shirts was at peak in the 1990s with popular bands like Nirvana. Flannelette typically refers to a cotton fabric imitating the texture of flannel. The weft is generally coarser than the warp, the flannel-like appearance is created by creating a nap from the weft, scratching it and raising it up. Flannelette can either have long or short nap, and can be napped on one or two sides and it comes in many colours, both solid and patterned. Baby flannel is a lightweight fabric used for childrenswear, cotton flannel or Canton flannel is a cotton fabric napped on one side or two sides. Ceylon flannel was a name for a wool and cotton mixture, diaper flannel is a stout cotton fabric napped on both sides, and used for making cloth diapers

39.
Breeches
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Breeches are an article of clothing covering the body from the waist down, with separate coverings for each leg, usually stopping just below the knee, though in some cases reaching to the ankles. Formerly a standard item of Western mens clothing, they had out of use by the mid-19th century in favour of trousers. Modern athletic garments used for English riding and fencing, although called breeches or britches, Breeches is a double plural known since c. Breeches uses a form to reflect it has two legs, the word has no singular form. This construction is common in English and Italian, but is no common in some other languages in which it was once common, e. g. the parallel modern Dutch. At first breeches indicated a cloth worn as underwear by both men and women, philip Stanhope, 4th Earl of Chesterfield, uses the word breech as a synonym or perhaps a euphemism for anus in his letters. Until around the end of the 19th century, small boys wore special forms of dresses until they were breeched, or given the adult male styles of clothes, at about the age of 6 to 8. Their clothes were rarely as easy to confuse with those of girls, as the head covering and hair, chest and collar. During the French Revolution, breeches were seen as a symbol of the nobility, lower-class revolutionaries became known as sans-culottes. The spelling britches is a variant, not a corruption. Presently, britches reflects a pronunciation often used in casual speech to mean trousers or pants in many English-speaking parts of the world. Breeks is a Scots or northern English spelling and pronunciation and this also led to the following, a breech is the part of a firearm behind the bore. The terms breeches or knee-breeches specifically designate the knee-length garments worn by men from the later 16th century to the early 19th century, spanish breeches, stiff, ungathered breeches popular from the 1630s until the 1650s. Petticoat breeches, very full, ungathered breeches popular from the 1650s until the early 1660s, rhinegraves, full, gathered breeches popular from the early 1660s until the mid-1670s, often worn with an overskirt over them. Fall front breeches, breeches with a panel or flap covering the front opening, dress breeches are tight fitting and have buttons and a strap and buckle closure at the bottoms, made of velvet or barathea wool, used for livery, formal and court dress. From the 1890s to the 1930s a form of breeches called knickerbockers or knickers were in fashion with men and boys. Like their 18th century predecessor, they reached and were fastened just below the knees, vráka are the traditional breeches of the islands of Greece from the westernmost Ionian Islands to the easternmost, Cyprus. Greek breeches are extremely roomy and are meant to be tucked inside long boots just below the knee and they were originally meant to facilitate movement on fishing boats and sailing ships

40.
Knickerbockers (clothing)
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Knickerbockers or knickers are a form of mens or boys baggy-kneed trousers particularly popular in the early 20th century United States. Golfers plus twos and plus fours are breeches of this type, before World War II, skiers often wore knickerbockers too, usually ankle-length. Until after World War I, in many English-speaking countries, boys wore short pants in summer. At the onset of puberty, they graduated to long trousers, in that era, the transition to long pants was a major rite of passage. See, for example, the classic song Blues in the Night by Johnny Mercer, My mammy done told me, when I was in knee-pants, my mammy done told me, son. Baseball players wear a form of knickerbockers, although the pants have become less baggy in recent decades. The white trousers worn by American football officials are knickerbockers, and while they have become less baggy, in recent years, the NFL has equipped its officials with long trousers rather than knickers in cold weather. In fact, Washington Irving had a friend named Herman Knickerbocker. Herman Knickerbocker, in turn, was of the upstate Knickerbocker clan, Jansen van Wijhe invented the name upon arriving in New Amsterdam and signed a document with a variant of it in 1682. Knickerbocker became a byword for a New York patrician, comparable to a Boston Brahmin, the Knickerbocker name stayed with the team even after it moved its base of operations to Elysian Fields at Hoboken, N. J. in 1846. The baseball link may have prompted Casey Stengel to joyously exclaim, when he was named pilot of the newborn New York Mets in 1961. Hence also the locally-brewed Knickerbocker Beer brewed by Jacob Ruppert, the first sponsors of the TV show Tonight, the Knickerbocker name was an integral part of the New York scene when the Basketball Association of America granted a charter franchise to the city in the summer of 1946. As can best be determined, the decision to call the team the Knickerbockers was made by the clubs founder. The team is now referred to as the Knicks. Knickerbockers have been popular in other sporting endeavors, particularly golf, rock climbing, invariably referred to as knickers in the US, where the British definition of that term is unknown, they lived on as a just-past-the-knee variant of racing tights reserved for colder-weather riding. Knickers are still worn as part of the uniform in fencing. Knickerbockers are often worn in baseball as pants, a custom that has been practiced even since long pants became widely used in the U. S, the traditional knickerbockers of old were more like pants that had been folded back with long socks. However, by 1984 the style had waned as more top-heavy styles with snug pants rendered the style obsolete, in the United Kingdom, Ireland and some Commonwealth nations, the term knickers is used for womens undergarments

41.
Gaiters
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Gaiters are garments worn over the shoe and lower pants leg, and used primarily as personal protective equipment, similar garments used primarily for display are spats. Originally, gaiters were made of leather, today, gaiters for walking are commonly made of plasticized synthetic cloth such as polyester. Gaiters for use on horseback continue to be made of leather, in army parlance, a gaiter covers leg and bootlacing, a legging covers only the leg. In RAF parlance, gaiter includes legging, the American Army during World War I and World War II had leggings, which were gaiters. Above the knee spatterdashes were cotton or canvas, as were many gaiters of varying lengths thereafter, leather gaiters were rare in military, though sometimes a calf-length cotton gaiter had leather kneecaps added. Leggings, however, were often made of leather. Gaiters are a type of clothing for a persons ankles. Gaiters are worn when walking, hiking, running outdoors amongst dense underbrush or in snow, heavy gaiters are often worn when using crampons, to protect the leg and ankle from the spikes of the opposite foot. Gaiters strap over the boot and around the persons leg to provide protection from branches and thorns and to prevent mud, snow. Gaiters may also be worn as protection against snake bites, gaiters are similar to puttees, a part of numerous military uniforms. Gaiters known as jambieres were part of the uniform of Zouave infantry regiments, during the 19th century gaiters for riding typically were known as riding gaiters, distinguishing them from the other gaiters that were in general use. Today, half chaps are a type of gaiter worn by equestrians, most forms fit over the calf. These are intended to protect the leg from wear by the stirrup leathers. Modern styles usually have a zipper or hook and loop fasteners on the outside of the leg, gaiters formed a part of the everyday clerical clothing of bishops and archdeacons of the Church of England until the middle part of the twentieth century. They were also worn by some cathedral deans and they were made of black cotton, wool, or silk, and buttoned up the sides, reaching to just below the knee where they would join with black breeches. Gaiters would be worn with an apron, a type of short cassock reaching to just above the knee. The purpose of this vesture was originally practical, since archdeacons and bishops were presumed to be mobile, in latter years, the clothing took on a more symbolic dimension. Chaps Greave Kyahan Leggings Leg warmer Puttee Neck gaiter Shin guard Spats

42.
Tailcoat
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A tailcoat is a coat with the front of the skirt cut away, so as to leave only the rear section of the skirt, known as the tails. Although there are different types of tailcoat, the term tailcoat is popularly taken to be synonymous with the type of dress coat still worn today in the evening with white tie. This dress coat, one of the two main surviving tailcoats, is an evening coat with a squarely cut away front. The other one is the coat, which is cut away at the front in a gradual taper. It is commonly referred to as just a tailcoat, but amongst tailors, the modern dress coat is an evolution of the coat that was once both day and evening dress. It became increasingly popular from around the late 1790s and was widespread during the British Regency. The eighteenth century dress coat was supplanted in the 1850s as formal day wear by the frock coat, in the Regency period, the dress coat with gilt buttons was always worn with non-matching trousers, pantaloons or breeches. Since the Victorian era, the dress coat for evening wear has been worn with matching trousers of the same cloth with two stripes of braiding down the side. The resulting suit is referred to by tailors as a dress suit. A dress coat is waist length in the front and sides, sometimes there is a pocket on the inside to hold gloves. Since around the 1840s the dress coat has lacked outside side pockets, since the early twentieth century it has become acceptable to have a welted pocket on the outside of the chest to hold a pocket square, but prior to this dress coats lacked any outer pockets. The front of the skirt is squarely cut away, since around the 1830s the coat has been constructed with a waist seam that allows greater waist suppression. From the Victorian era, the revers has taken facings in silk on the lapels, although it is double-breasted, since the 1870s, the dress coat no longer fastens in the front. As a result, although there are two rows of buttons, these are all non-functional, serving only a decorative function, additionally, a top hat, silk dress scarf, and white dress gloves are also seen as acceptable. The lapels are usually pointed, not step, since the coat is now worn as formalwear. When it was first introduced, the step lapel was common, the coat can be grey or black as part of morning dress, and is usually worn with striped, or very occasionally checked, trousers. The morning coat may also be worn as part of a morning suit, the modern morning coat is a mans coat worn as the principal item in morning dress. The name derives from morning nineteenth century horseback riding exercise for gentlemen and it was regarded as an informal form of half dress

Morning dress with matching black waistcoat with a then-fashionable shorter skirt length, top hat, formal gloves, contrasting-top Oxford boots with punching across the toe cap, boldly striped long tie, striped shirt with contrasting white turn-down collar and cuffs, and formal, striped trousers. The characteristic angle of the cutaway front of the skirt is clearly visible, as is the waist seam. (May 1901)

Formal wear by the Lord Mayor of Bruges, in Catholic procession and ceremonial

A pair of buckles for dress breeches. The T-hook of the buckle is inserted into a buttonhole located on the strap at the bottoms of the leg of the breeches. The end of the strap is slipped through, the prongs lowered and then the end slipped through the otherside of the buckle.